Chapter III: Part 72: , Filippo Lippi (2)

'La Source'--The Spring--considered by Charles Blanc the most beautiful figure ever produced by the French school--was not painted until Ingres was seventy-six, though the study for it had been made many years before. In the admirable purity of its line, in its grace of form and its masterly modeling in light, this work has the beauty of a Greek statue.

Standing against a dark wall of rock, her little feet reflected in the pool of water at its base, is the nude figure of a young girl. One rounded arm is thrown above her head to help support against her shoulder a Grecian urn from which a stream of water falls into the pool beneath. With her blond hair, her smooth brow and clear blue eyes, her lips parted in a slight smile, her childish form, and her expression of unconsciousness and innocence, she is a figure of almost ideal loveliness.

Upon its completion 'La Source' was exhibited in Paris, and later in London. Everywhere it aroused feelings of enthusiastic admiration. The hypercritical, to be sure, found fault with the drawing of the legs, which, repainted by the artist when the picture was finished and the model no longer before him, are not carried so far as is the upper part of the body. But on the whole even those who most strenuously opposed Ingres' methods acknowledged its beauty and excellence.

"It is difficult to imagine," writes Mr. George Moore, "what further beauty he may have introduced into a face, or what further word he might have had to say on the beauty of a virgin body."

The picture was bought by Count Duchâtel, whose widow bequeathed it to the Louvre, where it now hangs. It is on canvas and measures five and a half feet high by two feet eight inches wide.

'PORTRAIT OF MONSIEUR BERTIN' PLATE VII

This celebrated portrait of Bertin, manager of the _Journal des Débats_, one of the leading papers of Paris, is generally regarded as the artist's masterpiece in portraiture. It was painted in 1832. Ingres has himself related how he made repeated studies for this work, frequently changing his original plan, and as frequently beginning over again; how anxious and discouraged he became; how he finally confessed to Monsieur Bertin that all the sittings had been in vain, that nothing had been accomplished, and how grateful he was when the busy man of affairs begged him not to be so distressed but to try once more, for that he, Bertin, was in no way weary, but would gladly give him as many sittings as he wished. Reassured by such consideration, Ingres took heart and resolved to make another attempt. The pose, however, perplexed him. While still undecided on this point it happened that he spent an evening in Bertin's house, and while there the conversation turned upon some political question of the day in which opposite views were held by Bertin and his sons. Each side vehemently maintained its ground, but no argument could convince the elder Bertin that the young men had reason on their side. While listening to their argument he leaned slightly forward in his armchair, and planting his hands squarely upon his knees turned toward the speaker with an expression on his strong face indicative of interest, lack of conviction, and consciousness of power to refute the argument advanced. The pose and expression--both so characteristic and unstudied--at once struck Ingres, and when he bade his host good night, "Monsieur Bertin," he said, "your portrait is done. I have you this time and shall not let you go."

The result, attained quickly and without effort, was the superb portrait here reproduced, so forceful and expressive, so true to life, that as we stand before it in the Louvre, where it now hangs, we seem to be in the presence of the man himself.

'THE VOW OF LOUIS XIII' PLATE VIII

This great canvas, ordered by the Administration of the Fine Arts for the Cathedral of Montauban, where it is now to be seen in the sacristy, was begun in Florence in 1821, and finished three years later. The subject represents Louis XIII., King of France, consecrating to the Virgin his person, his crown, and his state, in recognition of the great mercy about to be vouchsafed by heaven in granting him an heir to his kingdom.

It would seem from his letters written at this period that Ingres was not altogether pleased with the "double subject" prescribed for him, and that, preferring one in which the interest should be more centered, he expressed his desire to paint instead 'The Assumption.' The Administration, however, was firm, and the artist was forced to yield. In his rendering of the scene, in which the historic and the mystical are combined, he has closely followed Raphael, taking his motives from that painter's famous pictures of 'The Transfiguration,' 'The Sistine Madonna,' 'The Madonna of Foligno,' and 'The Mass of Bolsena' (see MASTERS IN ART, Vols. 1 and 4, Parts 12 and 40).

"Notwithstanding its manifest faults," writes M. Momméja, "this work is truly grand. It marks a turning-point in the history of painting as well as in the career of the artist whose fame it established. At the same time it was the beginning of his adherence to the academic method, which until then he had combated with such bitter violence.

"Exhibited at the Salon of 1824, 'The Vow of Louis XIII.' was received with unanimous approval. The romanticists, with Delacroix at their head, recognized in this new master the successful opponent of the teachings of David; while the classicists discovered in his conscientious drawing, sober and restrained coloring, an intentional protest against the innovators."

'PORTRAIT OF MADAME DEVAUÇAY' PLATE IX

In 1807, the year after his arrival in Rome, Ingres painted this portrait of Madame Devauçay, now in the Condé Museum, Chantilly, which for its purity of line, delicate subtlety of expression, and for its quality of distinction, ranks as one of his best and most characteristic works. The colors, too, partly owing, no doubt, to the mellowing effect of time, are richer and there is more atmosphere than in many of his paintings.

Madame Devauçay is seated in an armchair of red damask against a dark background. She wears a black velvet dress and a yellowish coffee-colored shawl. Around her throat is a necklace of brownish-red beads, and in one hand she holds a small tortoise-shell fan. Her smooth black hair is ornamented with a gold comb just visible at the back of her well-shaped head. Her eyes are dark, her complexion sallow, her features delicate, and although her face is in repose, about her mouth there lurks an inscrutable smile.

"Something in this canvas holds one captive," writes M. Lapauze, "even before one has had time to fully take in the perfection of the lines, the beauty of the arrangement, the velvety quality of the color. She is sister to Leonardo's 'Mona Lisa,' this woman of whom we cannot tell whether or not she is fair to look upon, so strongly does she appeal to our emotions.... She is as mysterious as the enigmatic creations of a Leonardo, or a Holbein, or as some of those beings portrayed by certain of the Primitives who have fixed upon their canvases the inexpressible emotions of the soul. Ingres, worshiper of form, consummate master of line, has here attained this rare power of magic."

'THE APOTHEOSIS OF HOMER' PLATE X

In 1826, after his return from his first sojourn in Italy, Ingres was commissioned by the French government to decorate the ceiling of one of the galleries of the Louvre. For his subject the artist took 'The Apotheosis of Homer,' and in his treatment of the theme achieved what is regarded as his finest work in composition of the grand style.

Before the entrance to an Ionic temple, Homer, the blind Greek poet, is seated, like Jupiter, scepter in hand, upon a gilded throne. A winged figure of Victory, clad in rose-color, crowns him with a wreath of laurel, and on either side are grouped the most illustrious artists, poets, and musicians of all time. Here is Apelles leading Raphael by the hand; Æschylus presenting a scroll on which his tragedies are written; Phidias with his mallet; Pindar holding his lyre; Plato, Socrates, Horace, Virgil, and Dante, and, farther down, Shakespeare, Tasso, Corneille, Poussin, Gluck, Mozart, Racine, Molière, Fénelon, and others, while on the steps at Homer's feet, personified as the poet's daughters, are seated the 'Iliad' and the 'Odyssey.' The first is at the left, clad in red, and with Achilles' sword beside her; the other, enveloped in a sea-green mantle, is shown in profile, holding across her knee the oar of Ulysses.

In the loftiness of its style and the purity of its lines, 'The Apotheosis of Homer' is one of the noblest examples of the classic school of painting. Although it cannot be called in any way a copy of Raphael, it is evident that in painting it Ingres had in mind the 'Parnassus' and the 'School of Athens' (see MASTERS IN ART, Vol. 4, Part 40), those grand creations of the painter whom he regarded as superior to all others.

A copy by his pupils now occupies the place of Ingres' great ceiling decoration. The original picture is exhibited in one of the rooms of the Louvre, where it is seen to better advantage. The figures are life-sized, and the canvas measures more than twelve feet high by nearly seventeen feet wide.

A LIST OF THE PRINCIPAL PAINTINGS BY INGRES WITH THEIR PRESENT LOCATIONS

BELGIUM. BRUSSELS, MUSEUM: Virgil reading the Æneid (study)--LIÈGE, MUSEUM: Napoleon Bonaparte as First Consul--ENGLAND. LONDON, SOUTH KENSINGTON MUSEUM, IONIDES COLLECTION: Henry IV. and the Spanish Ambassador; Sleeping Odalisque--FRANCE. AIX, MUSEUM: Jupiter and Thetis; Portrait of the Painter Granet--ANGERS, MUSEUM: Francesca da Rimini--AUTUN, CATHEDRAL: The Martyrdom of St. Symphorien--CHANTILLY, CONDÉ MUSEUM: Portrait of Madame Devauçay (Plate IX); Portrait of Ingres; Stratonice; Francesca da Rimini; Venus Anadyomene--DAMPIERRE, CHÂTEAU OF THE DUKE OF LUYNES: The Iron Age and The Golden Age (two unfinished mural paintings)--MONTAUBAN, MUSEUM: Jesus among the Doctors; Ossian's Dream; Portrait of Ingres' Father; Portrait of Belvèze; Portrait of a Man--MONTAUBAN, CATHEDRAL: The Vow of Louis XIII. (Plate VIII)--MONTPELLIER, MUSEUM: Portrait of Desdebans; Stratonice; Oil Studies for 'Jesus among the Doctors; and 'The Apotheosis of Homer'--NANTES, MUSEUM: Portrait of Madame de Senonnes (Plate II)--PARIS, LOUVRE: Christ giving the Keys of Heaven to St. Peter; The Apotheosis of Homer (Plate X); Œdipus and the Sphinx (Plate I); 'La Source' (Plate VI); The Virgin of the Host; Jeanne d'Arc at the Coronation of Charles VII.; Roger liberating Angelica; The Large Odalisque; The Bather; Portrait of M. Bertin (Plate VII); Portrait of Cherubini; Portrait of M. Cordier; Portraits of M. and Mme. Rivière; Portrait of Mlle. Rivière; Portrait of M. Bochet--PARIS, ÉCOLE DES BEAUX-ARTS: Romulus victorious over Acron, King of the Sabines; The Ambassadors of Agamemnon in the Tent of Achilles--PARIS, HÔTEL DES INVALIDES: Portrait of Napoleon Bonaparte--PARIS, THÉATRE FRANÇAIS: Louis XIV. and Molière--PARIS, COLLECTION OF M. DEGAS: Portraits of M. and Mme. Leblanc--PERPIGNAN, MUSEUM: Portrait of the Duke of Orleans (repetition of the one at Versailles)--ROUEN, MUSEUM: 'La belle Zélie'--TOULOUSE, MUSEUM: Virgil reading the Æneid--VERSAILLES, PALACE: Portrait of the Duke of Orleans--ITALY, FLORENCE, UFFIZI GALLERY: Portrait of Ingres (see page 274)--ROME, QUIRINAL PALACE: Ossian's Dream--ROME, VILLA MIOLLIS: Virgil reading the Æneid--RUSSIA, ST. PETERSBURG, IMPERIAL COLLECTIONS: The Virgin of the Host--SWITZERLAND. COPPET, CHÂTEAU: Portrait of the Comtesse d'Haussonville.

Ingres Bibliography

A LIST OF THE PRINCIPAL BOOKS AND MAGAZINE ARTICLES DEALING WITH INGRES

ALEXANDRE, A. Jean-Dominique Ingres, Master of Pure Draughtsmanship. London, 1905--ALEXANDRE, A. Histoire populaire de la peinture; école française. Paris [1893]--AMAURY-DUVAL. L'Atelier d'Ingres. Paris, 1878--BALZE, R. Ingres: son école, son enseignement du dessin. Paris, 1880--BEULÉ, C. E. Éloge de M. Ingres. Paris, 1867--BLANC, C. Ingres, sa vie et ses ouvrages. Paris, 1870--BROWNELL, W. C. French Art. New York, 1901--CHENNEVIÈRES, H. DE. Les dessins du Louvre. Paris, 1882-83--CHESNEAU, E. La peinture française au XIXᵉ siècle. Paris, 1862--CHESNEAU, E. Peintres et statuaires romantiques. Paris, 1880--COOK, C. Art and Artists of Our Time. New York, 1888--DELABORDE, H. Ingres, sa vie, ses travaux, sa doctrine. Paris, 1870--DELÉCLUZE, E. J. David, son école et son temps. Paris, 1855--DUPLESSIS, G. Les portraits dessinés par Ingres. Paris, 1896--FORESTIÉ, E. Notice sur le monument d'Ingres érigé à Montauban. Montauban, 1871--GAUTIER, T. Portraits contemporains. Paris, 1881--GIGOUX, J. Causeries sur les artistes de mon temps. Paris, 1885--GONSE, L. Les chefs-d'œuvre des Musées de France. Paris, 1900--GRANDMOUGIN, C. Ingres (in La Grande Encyclopédie). Paris, 1886-1902--GRUYÈRE, F.-A. La peinture au château de Chantilly. Paris, 1898--HAACK, DR. F. Die Kunst XIX Jahrhunderts. Stuttgart, 1905--HAMERTON, P. G. Contemporary French Painters. London, 1868--KINGSLEY, R. G. A History of French Art. London, 1899--LAPAUZE, H. Mélanges sur l'art français. Paris, 1905--LARROUMET, G. Portrait de Bertin l'ainé (in Jouin's Chefs-d'œuvre). Paris, 1899--LOMÉNIE, L. Galerie des contemporains illustres. Paris, 1842--MACCOLL, D. S. Nineteenth Century Art. Glasgow, 1902--MARCEL, H. La peinture française au XIXᵉ siècle. Paris [1906]--MAUCLAIR, C. The Great French Painters. London, 1903--MERSON, O. Ingres, sa vie et ses œuvres. Paris, 1867--MICHEL, A. Notes sur l'art moderne. Paris, 1896--MOMMÉJA, J. Ingres. Paris [1903]--MONTROSIER, E. Peintres modernes. Paris, 1882--MOORE G. Modern Painting. New York, 1893--MUTHER, R. The History of Modern Painting. London, 1895--MUTHER, R. Ein Jahrhundert französischer Malerei. Berlin, 1901--PATTISON, E. F. S. Ingres (in Encyclopædia Britannica). Edinburgh, 1883--PERRIER, C. Études sur les beaux-arts en France et à l'étranger. Paris, 1863--PINSET, R., and D'AURIAC, J. Histoire du portrait en France. Paris, 1884--PLANCHE, J. B. G. Portraits d'artistes. Paris, 1853--PLANCHE, J. B. G. Études sur les arts. Paris, 1855--SCHMARSOW, A. Jean-Auguste-Dominique Ingres (in Dohme's Kunst und Künstler, etc.) Leipsic, 1886--SILVESTRE, T. Histoire des artistes vivants. Paris, 1856--SILVESTRE, T. Les artistes français. Paris, 1878--SILVESTRE, T. L'apothéose de M. Ingres. Paris, 1862--STRANAHAN, C. H. A History of French Painting. New York, 1888--WYZEWA, T. DE, and PERREAU, X. Les grands peintres de la France. Paris, 1890.

MAGAZINE ARTICLES

CONTEMPORARY REVIEW, 1867: T. F. Wedmore; Ingres--GAZETTE DES BEAUX-ARTS, 1861: É. Galichon; Dessins de M. Ingres. 1861: H. Delaborde; Les dessins de M. Ingres. 1861: É. Galichon; Description des dessins de M. Ingres exposés au Salon des Arts-Unis. 1862: H. Delaborde; La collection de tableaux de M. le comte Duchâtel. 1862: H. Delaborde; De quelques traditions de l'art français. 1863: C. Blanc; Du style et de M. Ingres. 1867: É. Galichon; La mort de M. Ingres. 1867-68: C. Blanc; Ingres, sa vie et ses ouvrages. 1870: H. Delaborde; Notes et pensées de J.-A.-D. Ingres. 1870: G. Duplessis; Le cabinet de M. Gatteaux. 1870: J. B.; Deux historiens d'Ingres. 1889: P. Mantz; La peinture française. 1894: L. Mabilleau; Les dessins d'Ingres au Musée de Montauban. 1898: G. Babin; Madame de Senonnes par Ingres. 1898: La jeunesse d'Ingres. 1900: A. Michel; La peinture française à l'exposition centennale. 1901: E. Hébert; La Villa Medicis en 1840: Souvenirs d'un pensionnaire. 1905: J. Momméja; Le portrait de Madame Destouches--DIE KUNST, 1901: H. von Tschudi; Die Jahrhundert-Ausstellung der französischen Kunst--MCCLURE'S MAGAZINE, 1896: W. H. Low; A Century of Painting--MACMILLAN'S MAGAZINE, 1871: F. Wedmore; Ingres--REVUE DE PARIS, 1896: L. Mabilleau; Les cahiers d'Ingres au Musée de Montauban--ZEITSCHRIFT FÜR BILDENDE KUNST, 1867: J. Meyer; Ingres.

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_MASTERS IN ART_ was established in January, 1900. As will be seen from the following list of painters and sculptors covered by the first six years, the bound volumes form a fairly complete reference library of Art. The subjects, in the order of publication, are as follows:

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Brahms (two numbers).

Volume VI. Rubinstein, Bellini and Donizetti, Gluck,
Saint-Saëns, Wagner (two numbers).

Price, per volume of six numbers, $1.25, postpaid.
Single numbers, 25 cents each.

$7.50 secures 36 parts, comprising 1,152 pages of classical music, carefully engraved and printed, and 576 pages of instructive and interesting reading-matter, with 36 frontispiece portrait plates--1,800 pages--a musical library in itself.

We will send the complete set, express prepaid, on receipt of $2.50 and your promise to complete the purchase by five monthly payments of $1.00 each.

BATES & GUILD COMPANY, PUBLISHERS 42 CHAUNCY STREET, BOSTON, MASSACHUSETTS

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